Hello!
Today nosotros are going to pigment a complimentary copy of Vincent Van Gogh's painting chosen «Starlight dark». This is i of the nigh famous and recognizable paintings ever created by a human. Van Gogh's «Starlight nighttime» is a symbol of human being`s imaginative power – information technology is ane of the most incredible and astonishing landscapes that one can imagine.
Since there are e'er the almost interesting and unusual things learnt in our art lessons, nosotros actually have to learn to paint at least something like to Van Gogh's «Starlight dark». During the piece of work on the painting we will try to feature the technique as loftier as possible in which this film is written, the dynamics, rhythmical recurrence and the pastosity of the castor strokes. We will try to catch the spirit and the energy of the painting.
It seems to me that one nighttime Vincent Van Gogh, armed with the canvas, brushes and paints, left his house and had a completely convincing intention to pigment the nigh incredible landscape with the about incredible stars, moon, calorie-free, heaven, wind…
We will await at Van Gogh`s painting, banquet our eyes on it, examine it adequately and start painting our own Starlight nighttime.
So let`s start our landscape painting lesson.
Ready your palette. Yous will need:
- White
- Cadmium Xanthous Medium
- Raw Sienna
- Burnt Umber
- Viridian Green
- Lamp Black
and various shades of blue :
- Phthalocyanine Blue
- Sky Blueish
- Ceruleum
- Cobalt Blueish
- Ultramarine Light
- Chisel brushes from №3 to №10, synthetic brushes of dissimilar pilus length and rigidity degree.
The peculiarity of Van Gogh`s oil painting technique is a strongly marked pastosity of brush strokes. This upshot is reached due to the minimal utilize of the pigment thinner. This means you lot should not use the paint thinner at all when mixing the paints and applying them onto a canvas.
You need the paint thinner only in order to launder the brushes. And then you should wipe the castor with a cloth and take a necessary paint with already dry out and clean brush.
Use the pigment thinner only in order to apply an underpainting – the blueish background. Make a mix of the rare sour foam consistency:
- Phthalocyanine Blue + White and Ultramarine + White. Use a thick brush and utilise these mixes on a canvas alternately and chaotically, covering the whole sheet.
In order to utilize the background paint, y'all can add the dammar varnish into the paint thinner – thus the paint will dry upwards faster.
The adjacent phase of our landscape oil painting lesson is marker the bones elements of the painting: the skyline, hills, bushes, cypress, houses in the village, direction of the vortex in the heaven, location of the stars and the moon.
Do the marking of a sketch using the dense White and Phthalocyanine Bluish with the help of a sparse brush.
If you cannot manage to draw a sketch conspicuously and adequately and to keep to the proper proportions and location of the basic objects, you should mensurate each of the objects (or the distance between them) with the assist of a brush and immediately acquit over this measuring proportionally on a canvas. Utilize your brush as a ruler.
Later on you have marked the chief details of your composition, let`s come up over to the most interesting phase of our mural painting tutorial – you will learn to «hatch» with the help of a brush and the oil paints.
Van Gogh was a real skilful in this; he used to produce the beautiful pictures with a pencil using various unusual kinds of strokes. Pulsating pastous brush stroke-hatches is the main technique y'all should learn during you work on this painting.
In lodge to set up a proper rhythm to this unusual composition, outset you lot should await carefully and find the management of the strokes. This applies specially to the part of the painting where the heaven is. Mark the shape and the direction of the vortexual streams on the starry sky and utilize the paint with the pastous brush strokes.
You should too pay your careful attention to the stars and the moon, the way the middle of these celestial bodies is shown and the way the light coming from them is painted. We run across very pastous pulsating strokes of Cadmium Yellow or Cadmium Yellow + White around the nighttime celestial bodies; and a bit of the Raw Sienna is used for the clear outlines. In that location are some places where the green is added to these yellow strokes; this green is the mix of the yellow + the blue colour of the lining.
At that place are the hills, trees, bushes and a small hamlet under the starry heaven. When painting these objects outset you lot should clearly mark its shapes and sizes. Exercise this with the Phthalocyanine Bluish mixed with the Lamp Black using a sparse castor. Afterwards yous have clearly marked everything, pigment in all the houses with the necessary colors and shades. Paint the light coming from the windows of the houses with a pastous layer of White + Cadmium Yellow.
Pay attending to the hills, they also feature the eurhythmy of the castor strokes. Give the hills color and shape making the «hatchy» strokes of the dark blue, calorie-free blue and the white.
Use the Viridian Green, Cadmium Yellowish and the Burnt Umber in guild to paint the bushes.
The next stage of our oil painting class is painting the cypress. Paint the big branching cypress on the foreground using the mix of several paints which give the different shades and a trivial dust. First make the darker underpainting with pure Viridian Light-green in the place where the cypress will be painted. And then in order to pigment the branches, utilise the mix of:
- Viridian Green + Burnt Umber + Phthalocyanine Bluish + Raw Sienna.
At the terminal stage of our oil painting lesson online yous should finalize all the objects, their shapes and clear outlines (if necessary), add together the pastous bright lite to the stars and the moon and improve the color of the strokes in the sky.
In this painting the main attention is compelled to the sky. It is impossible to look away from the «Starlight nighttime» due to the mosaic pastous strokes which create the unusual texture, wealth, roulades of the color, the low-cal and the shades. It seems as if the image is moving somewhere and changing all the fourth dimension.
You tin can paint this picture show in one session (as Van Gogh did) or do this work in several sessions. I started to pigment this picture in the evening and finished the next 24-hour interval in the forenoon – it was quite convenient because the pigment of the underpainting and the initial sketch had managed to dry up a bit.
I wish all of you good luck and new success in your creative work!
If you have any questions, write them in your comments.
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How to Draw Vincent Van Gogh Starry Night TUTORIAL
Posted by: jimparacce.blogspot.com
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